A Great Thriller
I’d like to tell you what I love to see in a great Thriller screenplay.
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The Bear pilot: Script to Screen
My idea of fun is to go back and watch the pilot episodes of my favorite shows. You find so many little moments and Easter Eggs that make you scratch your head and wonder, How did they know to plant that little bit that wouldn’t pay off until Season Five?
Seriously, I’d rather sit home and watch the pilots of all my favorite shows again than actually dine in a Michelin star restaurant. Speaking of fine dining…
I’m been working on my deep analysis of the pilot of The Bear, the half hour Emmys juggernaut written and directed by Christopher Storer. I’ve seen all three seasons of the show, more than once, so when I go back to the pilot I pick up on about a million little things that have greater significance now that I’ve spent more time in this world. It’s pretty much the deal with all great pilots. You watch them and you realize one thing.
It’s all there. Read more
How to write a GREAT script!
It ain’t easy, but if you strive for excellence and you put in the time, you just may write something that’s not just good but great.
I don’t see any other goal. You’re here to create a great movie that will stand the test of time. Seems obvious to me.
But…we all know those newbies who are only in it to write one screenplay and sell it for the “big money.” Well, they can keep dreaming because this is a very unique, detailed, demanding, difficult and rewarding craft and it takes more than just one script to get it down.
It takes a strong commitment to being the best. Writing the best Thriller to blow away all Thrillers. The most hilarious, relevant Comedy. The most stirring Drama. The most kleenex-wetting Romance.
And here’s where it begins. Right here, in this article.
Yes, it’s true, let there be no more speculation and no more confusion. Why?
I’ve got a list.
And everybody loves lists. (Don’t they?) Read more
How to Write a GREAT Script! page 2
In fact, each one of those categories in the Great Script list represents a great deal of study and practice. To truly understand each element is the first challenge and it takes time to get there. From there, the ability to implement each element on the page requires a strong focus, a raw instinct for story, a dedication to working hard over a long-term schedule and the helping hand of smart, experienced friends and mentors.
Even the pros have trouble pulling off all the elements of a great script. And even they need to show each draft to another reader as no writer, no matter their level, can be truly objective about their work.
I have so much to tell you about each one of the above elements that will help you look at movies and television in a new light. Basically, I can hand you the keys to how the pros do it so that you can find out who exactly is behind the curtain pulling all the switches and turning the dials.
But wait! There’s also those things you should not do. And I have a list for that crap, too.
In fact, I have a bigger list that I’ve given my students for years, but here’s the majors, the dealbreakers…
Biggest mistakes (in no particular order of badness):
Lack of a clear theme
Passive protagonist
Story not actively moving forward
Lack of conflict
No “rootability” for your protagonist
No “clock”
Got it? Good!
I mean…Great!
Because that’s the goal, right? To write a great one. I see no other way.
It’s going to be tough. It’s going to be rough. But it’s going to be exhilarating.
I’d love to help you get on your way, build your story with the strongest foundation possible and ultimately achieve your craft and career goals. If you’d like to work with me, please take a look at My Script Services and drop me a line.
Good Luck and Happy Writing!
CHARACTER = ACTION:
- Get professional notes on your completed screenplay.
- Get professional notes on your completed TV pilot screenplay.
- Develop a new screenplay from scratch with the guidance of an industry professional.
- Hire an industry pro to rewrite your script for you.
- Ask me a question.
Choosing a Script Service for your screenplay: “Those Who Teach” by Daniel Calvisi
Looking for a professional script doctor
or script service to teach you
how to write a screenplay
in the most professional, polished,
industry standard method?
Are you sick of wading through the hundreds of websites that offer “script services” or “movie script coaching?”
Think your screenplay deserves the best script doctoring and coaching you can find on the internet?
Did you hire a joker that took your money and gave you template notes or sub-standard coverage?
Are you wondering why the flashy website for a script doctor or screenplay service doesn’t have a bio page or list any credentials?
Did you pay good money to enter your script in yet another contest only to place in the “Top 25%” (whatever that means) and find out that the volunteer judges chose a boring screenplay that will never get made in Hollywood as the winner ?
Are your friends and writing group members not providing the level of detail and story solutions to truly help you take your work to the next level?
Choosing the right script service
can be a daunting task.
But it’s a crucial decision for
those looking for help with
how to write a screenplay.
A screenplay that will blow away Readers.
I should know, as I’ve been working professionally with screenplays and writers for almost fifteen years. I’ve worked as a Senior Story Analyst for major movie studios and production companies and I’ve seen the quality of writing at this level.
I was paid to give a Pass, Consider or Recommend to scripts and books being submitted by agents, managers and major stars.
In this article, I break down the basics of script services and offer some little-known tips to help you find the best script doctor for you. I will discuss…
- The three main types of Screenplay Coach/Consultants
- The inherent problems with Coverage services
- Writers vs. Teachers
- The “Triple Threat” of Screenwriting Coaches
- What I can offer YOU and more
Choosing a Script Service or Screenplay Consultant Part II: The Three Main Types of Script Services You Can Hire
“Those Who Teach” Choosing a Screenwriting Coach
by Daniel Calvisi, professional Story Analyst (Miramax Films, Dimension Films, Twentieth Century Fox, New Line Cinema) and author of Story Maps: How to Write a GREAT Screenplay
PART II: The three main types of screenplay coaches/consultants you can hire…
1) The Produced Screenwriter
A screenwriter who has sold scripts and had their work produced can give you great insights into the creative process and how to tailor your work for the market. Their commercial instincts, stories from the trenches, and real-world experience from the writer’s side of the business are invaluable, but I have to stress that it’s also important that they have a good deal of experience as a coach/teacher.
If they don’t have the ability to assess your skill level or find the right words and examples to guide you to make progress, then their experience is not worth much. Keep in mind that many screenwriters only know the biz from their side of the desk, which may or may not be what you need. For example, you’ll hear screenwriters bitching about coverage and how it’s the scourge of the industry. But coverage is a necessary evil and it’s here to stay, so I advise that you try to write your script with an eye toward blowing away the Reader who will be writing that coverage report.
I’ve also heard about screenwriters who try to make your script more like theirs. They are essentially guiding you to rewrite your script how THEY would rewrite it, which is not helpful, especially if they’ve never worked in your genre.
Buyer beware.
The next type of script service is…
Read more
Choosing a Script Service or Screenplay Consultant Part III: The Triple Threat
The Triple Threat: Industry Vet, Teacher and Coach
Due to the recent economy woes and all the layoffs in Hollywood, you’ll probably spot more new script services founded by recently downsized development and agency employees. Yes, they’ve worked in the industry, but have they taught and coached writers to improve their work?
As I stressed in part one of this article, there’s no substitute for years of teaching and coaching writers. My time on the job in the industry was only half of my training — teaching and guiding hundreds of writers was the second half. I’ve learned so much from you writers and I’ve tried to use it to make me better at what I do.
Here’s an example. Years ago, a client stressed to me that I was being quite harsh. My “tough love” approach was leaning too heavily on the tough and not enough on the love! So I took that lesson to heart and from that day forward, decided to communicate more positive feedback into my notes. I now always begin with what I liked about a script, before I get into what needs work.
I’m still going to be direct, honest and yes, tough, because I can guarantee you the industry will be ten times tougher, but I also understand that an artist needs to first hear good things about their work for them to be receptive to any criticism. When I show my own work to friends and colleagues, I say “Tell me something nice first. Tell me what you liked before you get into what you didn’t like.”
Key principles…
The Difference Between Film and Television Concepts by Daniel Calvisi
Dear Screenwriter,
You may come up with a cool idea for a movie and be told that it would make a better TV series, or you may create a concept for a TV series and be told it’s more fit for the big screen. How do you tell the difference between a concept that works best as a Feature versus a TV pilot/series?
FEATURE FILM
Film is pretty simple: it is a complete story with a closed ending. Unless you’re writing the first part of a trilogy (which I do not recommend, unless you happen to have procured the rights to a best-selling book series), the ending wraps up your compelling tale which (hopefully) had a beginning, middle and end. It can be a happy or sad ending, but that particular narrative has reached a closing point. You’ve exhausted the concept and we, the Reader or Audience, are satisfied. Fade out.
95% of the time, a feature script/film is going to use the “classical” 4-Act structure (Act One, Act Two-A, Act Two-B and Act Three.). Even if the story is told in a non-linear way, it should ideally fit into this meta-structure. My Story Map structure fits ably into this form, and you can learn much more about it in my books and webinars.
The idea for a feature film should be able to be expressed in a logline, which is a one-line snapshot of the unique dramatic situation in approximately 20-30 words. A feature film logline should suggest a stand-alone story, rather than an ongoing saga. Here are three loglines for famous films:
Story Maps TV Drama hit #1 on Amazon and knocked out Robert McKee’s Dialogue book
I was so excited to see my book, Story Maps: TV Drama: The Structure of the One-Hour Television Pilot grab the #1 and #2 spots (for the Kindle and Paperback versions) on the Amazon Hot New Releases in Screenwriting chart! It was especially satisfying to see my book above the new entry from Robert McKee, the venerable old statesman of the screenwriting instruction world. Read more
TV PILOT BEAT SHEET WEBINAR: From ABC to AMC to HBO to Netflix
Back by popular demand and updated with new material and a bonus map of the classic series MR. ROBOT, my webinar THE TV PILOT BEAT SHEET: FROM AMC TO HBO TO NETFLIX is now available for download. Read more
A script consultant is like a recording studio
One afternoon in April 1990, Kurt Cobain, Krist Novoselic and drummer Chad Channing arrived at producer Butch Vig’s Smart Studios in Madison, Wisconsin… “They rolled up in a van,” says Vig, “and they probably hadn’t taken a bath or shower in three or four days.” The songs Nirvana began recording that day would eventually become Nevermind.
Source: Rolling Stone.
On January 3, 1991, five young musicians who called themselves “LunchHead” entered the same studio, used the same equipment as Nirvana, and paid Butch Vig the same fee. Read more
WHO THE F*$K IS STAN? and 14 other questions about TRUE DETECTIVE SEASON TWO
“Forget about it, Ray. It’s Vinci.”
The great SLOG-WATCH of True Detective season two is over, and I’ve got a few things to say about it. But I’m not just here to point out flaws, I’m also offering solutions so that maybe we can learn something from the 8 1/2 hours of our lives we devoted to this season.
It was inevitable that from the first minute, the second season of True Detective would be compared to the first, and that would be a tough comp for any series. Season two has been almost universally judged to have fallen short of the bar set by the first season, which featured star talent, cinematic production values, some great writing and fantastic direction. Considering its evergreen pedigree, I can’t help but wonder if season two’s 8 episodes, as is, had aired on a different network, under a different name, if they would have been lambasted so badly. I’d surmise that it would have got off easier, but it still would have attracted a lot of criticism. With or without the comparison to the first season, True Detective season 2 was heavily flawed and utterly frustrating to watch. Read more
David Simon interview “SHOW ME A HERO” on HBO
Oscar Isaac in “Show Me a Hero.”
David Simon is the creator of The Wire, which is often cited as the greatest television drama of all time. I wouldn’t argue with that label. His latest project is SHOW ME A HERO, a 6-hour miniseries on HBO, starring Oscar Isaac, Alfred Molina, Catherine Keener, Winona Ryder and many others, directed by Paul Haggis (“Crash”) and based on the book of the same name by Lisa Belkin. It is Executive Produced by Nina K. Noble, Gail Mutrux and William F. Zorzi.
Logline: In an America generations removed from the greatest civil rights struggles of the 1960s, the young mayor of a mid-sized American city is faced with a federal court order that says he must build a small number of low-income housing units in the white neighborhoods of his town. His attempt to do so tears the entire city apart, paralyzes the municipal government and, ultimately, destroys the mayor and his political future.
Q: When did you become aware of Lisa Belkin’s book? What initially struck you about it, and when did you see the potential for adapting it for the screen? Read more
BOOKENDS: We are all Don Draper (the pilot and series finale of Mad Men)
Here’s a character arc we can all understand:
From blocked creative to fulfilled creative.
You know this story.
You’re young and it comes easy. It flows out of you. You get a bit older and it starts to feel more like work. Life intercedes, your creative side suffers, and you struggle. You hit the wall and you feel like you just can’t do it anymore. You’re blocked, stuck in the crucible, and it seems like there’s no escape. You contemplate giving up, throwing in the towel. It would be easier to just call it a day — it would alleviate a lot of pain. But you can’t. You have to keep fighting. You have to do the work. So you make a plan. First, you strip yourself of all that is holding you back. You get lean and mean. You do the work. It’s the only way. The only way to find your new path back to creative fulfillment. And one day it comes to you: that big idea. The lightbulb that illuminates that corner of your imagination that had been held in shadow for so long. Maybe it’s just the idea that gets you back at the desk, or maybe it’s a world-class winner of a concept that lights a fire across the globe.
This is your story. The story of every writer.
And, as we now know, it is the story of Don Draper, the now iconic character at the heart of Matthew Weiner’s Mad Men.
We are all Don Draper.
Just with less mistresses and whiskey.
I hope. Read more
True Detective Pilot Story Map Beat Sheet
In early 2014, the television landscape was rocked by the debut of TRUE DETECTIVE, an epic 8-episode drama from HBO that blurred the line between television and cinema more than ever. It was a serial killer crime procedural — as familiar a genre as they come — but the execution was so unique and at such a high level of craft that the series immediately established itself with viewers and critics alike as one of the great achievements in the modern era of television drama. Read more
4 Great TV Pilot Openings (The Good Wife, Downton Abbey, The Walking Dead, Breaking Bad)
It’s Fall TV season and there are way too many new shows vying for only a few open spots in network schedules. You’re flipping channels, hoping to find a winner, but also itching to boot up your Netflix queue, where you know you’ll find proven content. You find a candidate. A brand-spanking new series. A newborn, hoping to find millions of loving parents in the 18-35 demographic.
How long do you give it to win you over, to win a slot in your coveted shows list? Read more
Interstellar: 5 Christopher Nolan Trademark Techniques
Christopher Nolan is the most daring film director working in the major studio system today, and each film he directs becomes an event. With Interstellar, he’s created (along with his co-writer, brother Jonathan Nolan) an epic that combines classic Hollywood storytelling with bold narrative choices, all displayed with cutting-edge theatrical presentation. Interstellar is certainly his BIGGEST film yet, not just in cinematic scope but in the size of the narrative stakes and thematic resonance, and makes me wonder how the hell he’s going to top it with his next movie! Read more
Interview with Michael Patrick King on the return of “The Comeback” on HBO
Michael Patrick King on set of “The Comeback” with Lisa Kudrow.
CREATOR AND EXECUTIVE PRODUCER MICHAEL PATRICK KING (“Sex And The City”) DISCUSSES THE RETURN OF THE HBO COMEDY SERIES THE COMEBACK
“B level” TV star Valerie Cherish was a pioneer of reality television. Now, it’s ten years later – there’s more TV than ever and the onetime sitcom star wants back in.
Q: How did the revival of THE COMEBACK come about?
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Guillermo Del Toro and Carlton Cuse Interview (The Strain)
Guillermo Del Toro (right) and a friend
Q The first episode in particular is absolutely riveting and I loved it, but can you tell me how you first got involved in this and what drew you to it?
Carlton Cuse I had read the first Strain novel as a fan of both Guillermo’s work, and also independently I knew Chuck Hogan, and so I was very curious to see what this collaboration would look like. And I was just intrigued by the subject matter. I had read the first novel when it came out in 2009 and really enjoyed it, and then basically about two years ago my agent called me up and said that there was some interest in doing The Strain as a television series and would I be interested in it. Read more
Screenwriting conference in beautiful Pebble Beach! (August 13-17, 2014)
Dear writers,
I am excited to be teaching a screenwriting track at the Catamaran Literary Reader Conference from August 13-17 in beautiful Pebble Beach, CA, just off historic 17-Mile Drive.
Write, learn, network and have fun in one of the most breathtaking spots on Earth that inspired Hitchcock, Steinbeck and so many other great artists.